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The HEDDphone D1 are a quite frankly astonishing pair of over-ear headphones, trucking in a new line of innovative thought from the Berlin brand that also brought AMT technology to the wearable market. They’re open-back and passive, with eyes locked both on the world of pro audio and at-home audiophile listening.

While most brands struggle to occupy both spaces in any meaningful way, it’s my view that the HEDDphone D1 are a rare and commendable success. They are full in heart and full in throat, with an expansive frequency range and a hugely expressive soundstage. Their Thin-Ply Carbon Diaphragm (TPCD) drivers make good on their claims of tonal balance and transient excellence, making these just as adept at clinical representation as they are at gratifying, fulsome home listening.

The specs are friendly to both camps too, starting with the works-with-anything 32-ohm impedance. Traditionally, I’m less fond of this in other devices, but here and with the D1’s rich sonic capacity across devices, it’s a boon. They’re comfortable to wear, innately and over long periods of time, and they never get fatiguing to listen through either.

I don’t like giving full marks to things. It makes me feel like I’ve failed; like I’ve missed something, somewhere, or that I’ve even dared to be a bit lazy. More’s my disappointment, then, that I can’t fault the HEDDphone D1 in any meaningful way.

Sure, the build quality might stoop a tad beneath the price in places, but then the pristine presence afforded by those unique dynamic drivers shoots well above. Likewise, a slight low-end boost might disincentivise some pro-audio folk from trusting them in their line of work, but that same lift allows these headphones to provide weight and context unlike any other set of open-backed headphones at this (or perhaps any) price. Every question an answer.

So, then, I resolve to put away my thoughts of laziness or journalistic inadequacy, instead settling with the thrilling and essential truth that must be my own final answer: these are the best headphones I’ve tried in my career thus far. And they get full marks. Among the best wired headphones on the market? Emphatically yes.

• $799.99 / £599 / AU$999
• Launched on 6th November, 2025

When a pioneering set of headphones hails from a German brand literally called HEDD, it’s one’s duty to take notice. HEDD stands for Heinz ElectroDynamic Designs, and is the another in a series of major audio-tech gifts from Heinz Klaus — founder of ADAM audio, and key contributor to the development and improvement of AMT (Air Motion Transformer) transducers.

HEDD is a continuation of Klaus’ inventorial pursuits, first with a new suite of professional monitor speakers, then with bringing AMT and some clever material design to new territory: the world of head-fi. All lovingly designed and manufactured in Berlin.

The subjects of today’s scrutiny are the HEDDphone D1, the fourth set of over-ears to come from HEDD, following HEDDphones ONE, TWO and TWO GT respectively. Where prior cans focused on combining AMT drivers with over-ear headphones, the D1 are an exploration of dynamic drivers through the lens of Thin-Ply Carbon Diaphragm (TPCD).

The HEDDphone D1, then, purport to be every bit as stereotypically precise as one might expect from a pioneering German audio brand — with emphasis on the ‘stereo’, and with pun very much smugly intended. If Heinz can do it, so can I.

At £599 / $799.99 / AU$999, the HEDDphone D1 certainly aren’t cheap; they tickle the upper reaches of what might be considered ‘mid-range’ in a broad market, increasingly filled with audiophile-grade cans that ask for four-figure sums (including HEDD’s own flagship HEDDphone).

But the D1 pitches itself, sonically, as a pair of ‘phones that’ll go toe-to-toe with most when it comes to detail, tone and depth — to the point that they’re marketed quite keenly towards professional audio-folk and audiophiles alike. And, not to spoil you too soon, I think they more-than stick the landing.

Type

Open-back

Drivers

Driver: 50mm dynamic, thin-ply carbon diaphragm (TPCD)

Impedance

32 ohms

Weight

350g

Connectivity

2 x 3.5mm TS

Frequency range

Frequency range: 5 Hz - 40 kHz

Extras

Moulded EVA case, dual-TS to 3.5mm TRS cable, screw-on 3.5mm-6.35mm TRS adapter, drawstring velour cable bag

• 50mm Thin-Ply Carbon Diaphragm (TPCD) dynamic drivers
• 5Hz-40kHz frequency range
• 32-ohm impedance

The HEDDphone D1 are a pair of open-back over-ear headphones, designed as a mid-weight contender for pristine professional audiophile listening. They’re a passive, wired affair, and about as operationally simple as headphones get.

The big sell here is HEDD’s Thin-Ply Carbon Diaphragm (TPCD): a diaphragm constructed with an advanced carbon fibre composite that maintains rigidity in spite of its thin, low-mass design. The result is a responsive dynamic driver that doesn’t need to trade its proverbial lightness-of-foot for distortion or tonal imbalance, and doesn’t need conventional diaphragm-level dampening to maintain clarity either.

The HEDDphone D1 is outfitted with two 50mm TPCD-constructed dynamic drivers, which extend up to 40kHz and down to 5Hz — a remarkable range, with a remarkably steady response curve where it counts.

These drivers field an impedance of 32 ohms, making the HEDDphone D1 a suitable candidate for practically any sound source. I usually prefer my monitor headphones to have a little more fight in them than this, but on this occasion, I certainly don’t mind the results.

• Features score: 5 / 5

• Incredible clarity across frequency spectrum
• Deep, full and spacious low-end
• Expansive soundstage

Being someone who encounters and experiences new audio tech as a matter of course, I’m rarely in a position to be surprised by something. I usually have some vague idea of what to expect, and my expectations are usually somewhat in line with what I ultimately hear. Here, though: wow.

Having had plentiful experience with professional monitor headphones before, I thought I knew what I was in for with the HEDDphone D1. I didn’t. These ground-up Berlin-designed drivers are a marvel — and, perhaps, a rare instance of experimental reality actually informing PR copy. The D1’s got everything: depth, width, height; microscopic detail and macroscopic grandeur; pro-grade clinical clarity and gratifying, grin-worthy weight. They are full-range and balanced enough to work well as monitor headphones, but not clinically transparent to the point of flatness. It’s a delicate balancing act that pays off.

There’s a lot to get into here, but let’s start with the bass. Though impressively even with respect to frequency response, there is a slightly pronounced push in the low end — the quality of which is, quite simply, astonishing. There is a bulging fullness, of the same heft that makes closed-back headphones so gratifying, but also a depth-of-field that only open-backs can achieve. It’s the platonic ideal for low-end presence; the best of both worlds.

First impressions of this were achieved through digital streaming, listening to hi-res audio streamed from Qobuz. Pile’s All Fiction is a maximalist flood of roomy orchestrations, reverb-drowned voices breaking like waves, and huge blooms of messy low-end energy. It should not be an easy-to-parse record, but the D1 handle the heft of Loops and Poisons handily.

That deeply-impressive low-end control isn’t all that’s happening here. It serves to support an incredibly detailed upper register, too; things sail above it with ease. Mitskis’ Cats, from early-2026 heartbreaker Nothing’s About To Happen To Me, is a supremely balanced slug of sad-folky Americana, carried on a wave of deep bassy richness and carrying a full, clear, near-sailing Mitski vocal. In fact, those vocals are a revelation of their own, every fathom and every miniscule wave rendered in the same amazing definition.

Definition, ultimately, is the word. The transients are, to my immense gratitude, tight and immediate without overextension or insistence. Mitski’s I’ll Change For You demonstrates this capably, through dead-on kick-drums, rich clatter-y rim shots and the most tactile shakers you’ve ever heard hidden in a ballad. The light plosives in Mitski’s voice are discernable, to great humanising effect.

To figure out some more of that definitional excellence, I turned to PJ Harvey’s Stories From The City, Stories From The Sea. Harvey’s vocals are an immediate, forthright affair, and pop into being with a refreshing urgency. Again, there’s some excellent separation between voice and instruments, even as things spiral away beneath as in Big Exit, Kamikaze and This Wicked Tongue. Across the album, dry drums, harsh leads and percussive acoustic guitars build a clear and crisp picture of the D1’s composure.

Over on vinyl, things are just as impressive. Queens Of The Stone Age’s …Like Clockwork demonstrates the D1’s soundstage admirably, as well as their gutsy, gratifying treatment of distorted guitars. I Sat By The Ocean is cleverly rendered in space; My God Is The Sun is addictively propulsive, from its growling plinth of glistening bass to its tight trio of ever-climbing riffy guitars. Homme’s voice is, as ever, a mile-long track of croon-y honey.

Between PJ Harvey, Mitski and QOTSA, the D1’s aptitude for rock instrumentation — much like my personal proclivities for the same — have been summarily proven. To change tack, and to make a small case for my actually-quite-eclectic-I-promise taste, I threw on my vinyl copy of jazz drummer Roy Haynes’ 1963 album Cymbalism.

It’s a rich and free-wheeling collection of quartet-arranged brilliance, opened up with fast-paced flute-led swinger Modette. Haynes’ ‘snap-crackle’ drums shine immediately, and Frank Strozier’s flute, that threatens to be unlistenably harsh, comes in bright, beautiful and searingly insistent. The double-bass is a subtle, hollow, plucky affair, held up well somewhere between kick and snare; the piano is unobtrusively clear, even sharp.

In Lonnie Liston Smith And The Cosmic Echoes’ sprawling 1973 spiritual-jazz missive Astral Traveling, I found the D1’s tonal strengths on full display. In Search Of Truth’s a slow, sure-footed hike, its footsteps a consistent bass riff over which a spaced-out, upward-spiralling piano, disparate, immaculately-preserved percussive elements and a steady harmonium drone reach towards a mountain’s peak — a full-throated, ensemble-derived answer to the call, and a truly expansive experience in these headphones.

It’s clear to me how the HEDDphone D1 can be marketed simultaneously as a powerful home-listening audiophile product and a pro-grade monitoring headphone. The soundstage is broad and deep across the frequency spectrum; instruments and elements have their space, to be appreciated or scrutinised accordingly. That broad low-end lift could be argued as a platform by which to better examine low-end information, but really, it’s a little gift for you and me.

• Sound quality score: 5 / 5

• Unusual — yet welcome — grip on head
• Incomparably comfortable for long
• Slightly underwhelming material choices in places

The HEDDphone D1 are some seriously comfortable headphones — and not in the conventional way, either. Most headphones aiming for comfort have a light touch; they’re trying to be light, airy, and leave little evidence of presence on your head. The HEDDphone D1 are gloriously opposed to this approach.

Instead of a feather-light balancing act, the D1 goes hard, gripping your head with a deep and encouraging firmness. Some super-soft ear cup cushions eat up a lot of that inward force, and a firm foam cushion beneath the headband provides supple support from above. It’s a tight hug in headphone form, and all the better for it. They melt into your head, and, thanks to their open-back breathability, never get old.

Materials-wise, the HEDDphone D1 doesn’t quite have the same quality of build as other headphones at this price point — with a firm and reverential gaze levelled at the likes of Meze Audio. Besides the metal grilles protecting the diaphragm, and the spine of the headband, everything visible is plastic, foam and variably-breathable fabrics.

This is to say that the money’s been spent elsewhere; within. And given the incredible quality displayed within, I’m actually not all that fussed by the less-rarefied material design here. Besides, things work where it counts. The headband adjustment feels firm and reassuring, and the foam used for the cushions couldn’t be better-suited.

There is some semi-significant sound leakage out into the world, as is to be expected from anything open-back; that said, the same can’t quite be said for the inverse — at least, when music’s playing. It’s hard to be distracted when wearing these things.

• Design score: 5 / 5

• An undeniably upper mid-range price point
• Sonic performance that outstrips pricier cans
• Unignorably high bang-for-buck

Value’s always the hardest thing for me to pin down in a piece of tech. Circumstances differ, but MSRPs above a certain point are almost always a big ask. And I think it’s fair to call $799.99 / £599 / AU$999 a big ask. But in comparing that to the value of other headphones on the market, something emerges. At least, to me. The HEDDphone D1 pretty much clears them all for sonic characteristics.

Reservations may rightly be held for the plasticky nature of the chassis in places, but I think the D1’s built well enough to see off any assertions of poor value for money, particularly when they sound as good as they do. As far as fidelity is concerned, this could well be the absolute best bang-per-buck on the market.

Let me couch that in something a little more tangible. I’ve reviewed audiophile-grade over-ear headphones worth upwards of $2,000 / £1,899 / AU$3,550; I’ve even loved them. But not as much as these. And that’s irrespective of price. If the HEDDphone D1 can outperform something three times their price (and something I’ve deemed more-or-less worthy of that price, too), then they are stunningly under-valued.

Yes, $799.99 / £599 / AU$999 is a big ask for a lot of things, headphones included. But if you care about sonic fidelity personally or professionally, and when you’re getting four-figure sound quality at a mid-budget price point, it’s hard to call this anything but a steal.

• Value score: 5 / 5

Attributes

Notes

Rating

Features

Passive, open-backed over-ear headphones furnished with some top-flight 50mm TPCD dynamic drivers. They boast a 5Hz-40kHz frequency range — and a 32-ohm impedance guarantees they play well with pretty much any source.

5 / 5

Sound quality

An absolute delight to listen through, from a well-constructed and surprisingly robust low end to crystal clear highs, bywhy of excellent tonal control and some uniquely tactile transients.

5 / 5

Design

They look great, but they feel even better when worn. HEDD D1 aren’t fatiguing in the slightest, whether sonically or physically. A small shame that some parts feel cheaper than others.

5 / 5

Value

In spite of a slightly disappointing chassis, the HEDDphone D1 is incredible value for money. Its transient and tonal clarity reach far above its price point, giving many other more expensive audiophile- grade cans a run for their money.

5 / 5

You want to buy your last set of mid-range headphones
In my view, the HEDDphone D1 achieve something marvellous for their price bracket. They sound easily three times their price, and, even with a slightly cheaper build quality, feel exceedingly comfortable while delivering that underpriced sound. They’re the be-all and end-all for mid-budget listening headphones, and could be the last you buy before something four- (or five-) figures entices you.

You’re an audio professional that wants some daily-drivers
The HEDDphone D1 are unique in how readily they straddle personal and professional use cases. These are begging to be used in the studio all day, and at home on your hi-fi all night.

You want some headphones to commute with
Though the HEDDphone D1 ship with a robust-enough carry case, they are not the most commute-friendly of devices; they’re open-back, which means your travel companions will hear what you’re hearing. Also, while surprisingly good at blocking out external noises, they’re not great at it. These headphones are for home! (Or work.)

You’re stretching your budget
The sound performance on display here is nothing short of magical, but the price point stretches beyond what most casual or mid-range budgets allow. If you’re looking for some pro monitoring headphones, you’ll find a suite of flat, clear and pristine (if slightly less thrilling) headphones in the £2-400 range; if you want some crystal-clear listening headphones for home, other brands like Meze are excelling in that same space.

HEDDphone D1

Meze Audio 105 Silva

Grado Signature

Open-back or closed-

Open-back

Open-back

Open-back

Driver

50mm dynamic, thin-ply carbon diaphragm (TPCD)

50mm dynamic; bio-cellulose, titanium-coated semicrystalline polymer

50mm dynamic

Frequency range

5 Hz - 40 kHz

5 Hz - 30 kHz

6 Hz - 46 kHz

Impedance

32 ohms

42 ohms

38 ohms

Connector

2 x 3.5mm TS

2 x 3.5mm TS

4pin Mini XLR

Weight

350g

354g

460g

Extras

Moulded EVA case, dual-TS to 3.5mm TRS cable, screw-on 3.5mm-6.35mm TRS adapter, drawstring velour cable bag

Carry case, soft pouch for cables, 3.5mm TRS to dual 3.5mm TS cable, 3.5mm TRS to USB-C adapter w/ integrated DAC, 3.5mm TRS to 6.35mm TRS adapter

Source connection 6.3mm; Signature Gold 12-conductor 6ft detachable cable; new B Cushion ear pads supplied

Meze Audio 105 Silva
The Meze Audio 105 Silva are another stunning pair of mid-weight headphones, though much more geared to comfortable home listening than anything else. They’re a little cheaper, and they fall short against the D1 on a few sonic fronts, but they’re hugely comfortable, and slightly more remarkable on the material-design front.
Read our Meze Audio 105 Silva review for more

Grado Signature
The Grado Signature S750 are open-backed on-ears, and significantly pricier than the HEDDphone D1. These are the choice for luxuriant, up-close at-home listening, but also an illustration of just how high the D1 are punching. 
See our in-depth Grado Signature S750 review for more

• Tested for 5 weeks
• Used as primary home listening headphones, for streaming and vinyl
• Predominantly tested using Qobuz on a Windows laptop, connected to a UAD Volt 4 audio interface
• Also tested on a Vestax turntable setup with an Audio-Technica VM-95EN cart

I spent a month with the HEDDphone D1 headphones, wherein they were used as my primary home listening headphones. They split their time between my attic office space and my living room hi-fi stack.

In the attic, the HEDDphone D1 were used to listen to hi-res audio on the streaming service Qobuz, as well as lossless audio in my digital music library, through the headphone output of my trusty Universal Audio Volt 4 audio interface.

In the living room, they were used to listen to vinyl records played on a Vestax PDX-D3 turntable, outfitted with an Audio-Technica VM-95EN cartridge, via the headphone output of my Vestax PCV-275 mixer.

• First reviewed: July 2026
• Read more about how we test

• The UK government has quietly revealed when plug-in solar will be legal
• The law change will come into effect from August 27
• The panels could save you up to £110 a year on your energy bills

The UK government has quietly revealed when plug-in solar panels will become legal to buy in the country — and the magic date is August 27.

The date (spotted by Engadget) is hidden away in these amended 'Plugs and Sockets' regulations for the UK. These are "coming into force" from August 27 and effectively legalise plug-in solar panels, which currently exist in a legal grey area.

Right now, it isn't legal to send electricity into a wall socket to power your appliances or other tech. But these amendments make a new exemption for so-called plug-in solar, provided the new kit meets some strict criteria.

Specifically, your solar setup can't output more than 800W of power and also can't "import electrical energy" from your house to be stored and used later. This date also isn't necessarily when we'll see plug-in solar panels — otherwise known as 'balcony solar' — go on sale, but refers to when they can be approved to go on shelves.

The government's research, which included a consultation that ended on June 30, suggests that plug-in panels could start at around £400, and save households up to £70-£110 a year on their energy bills. You also shouldn't need professional installation nor planning permission, unlike regular rooftop panels.

While the legal amendments have unfortunately come towards the end of the summer, it does mean the government will have hit its target of finalising plug-in solar legislation by the end of the season.

While retailers aren't committing to exact on-sale dates yet, some major ones have hinted to us that they'll be keen to stock plug-in solar kits as soon as possible.

John Boumphrey, UK & Ireland Country Manager at, Amazon said: "The Government's announcement on plug-in solar panels is a practical step that gives households a simple way to generate their own power, reduce bills, and contribute to the UK's net zero goals. We're looking forward to helping customers access this technology."

Lidl could be another store that supports the tech, given it's already launched its own cheap battery that's designed for solar systems in Germany. Georgina Hall, Corporate Affairs Director at Lidl GB, told us: “At Lidl GB, we are committed to making sustainable living affordable for everyone and we welcome the Government’s move to modernise regulations in the UK.

"Updating the regulatory landscape for this 'plug-and-play' technology is a positive step towards empowering British households to manage their energy costs and support the nation’s net-zero ambitions."

Last month, we also saw that Asda, Currys, B&Q, Wickes, and Screwfix had met with the Minister for Energy Consumers, Martin McCluskey, to discuss balcony solar panels. "Plug-in panels can be transformative for renters or those on lower incomes, so I welcome the conversation today with household names such as B&Q and Currys showing a huge amount of support for getting the panels in people's homes," McCluskey said.

So if you're interested in plug-in solar panels, you shouldn't be short of options from traditional high street names — let's just hope the sun is still shining by then.

• SK On says solid-state cells can give industrial robots the 8+ hour runtime of a human shift, but adoption might be another story
• While upcoming solid-state batteries boost productivity through longer operating times and lower overall operating costs, they are prohibitively more expensive than some of their lithium-ion peers
• Modern Li-on-based batteries are under 2% of a robot's manufacturing cost today, and solid-state would push that share to around 8%, a premium that could come with serious tradeoffs for manufacturers

Modern robotics is a field that continues to grow over time, fueled by a mix of smarter AI, manufacturing efficiencies and at times, better materials that change what is possible on the ground.

The robots currently in use in factories and warehouses however have a key limitation that has yet to be addressed properly: Lithium-ion batteries often can not keep up with the power demand that modern robots have.

This is particularly reflected in how often they require a battery swap or a recharge: most lithium-ion-powered robots typically operate for one to two hours on a charge, a far cry from the industry's ambitions of machines that can work a full eight-hour shift.

Speaking at the 2nd Battery Foundry Forum in Seoul on July 15 2026, Ko Young-seok, the executive vice president and head of product planning at the Korean battery maker SK On, argued that solid-state cells can deliver meaningful value for industrial robots that need extended runtime.

He also explained that whether manufacturers actually adopt them will come down to total cost of ownership (TCO), weighed against two cheaper rival approaches: battery swapping and ultra-fast charging.

The TCO framing implies that solid-state batteries, the battery industry's most hyped next-generation technology and inherently expensive to boot, might attract industrial buyers simply because the math works in their favor relative to conventional Li-ion setups.

This is because one must factor in the cost of keeping spare battery packs, charging and/or swap times, and potentially additional robots to cover the resulting downtime, which could leave solid-state with a lower TCO than the competition despite the higher sticker price.

The framing may also be unavoidable given how batteries sit in a robot's bill of materials today. A Li-ion battery accounts for under 2% of the total cost of an industrial robot, according to SK On, essentially a rounding error in the grand scheme of things, but switching to a solid-state battery could push that share to around 8%, a significant jump in overall costs.

For context, a widely circulated teardown of Tesla's Optimus Gen 2 puts the battery pack at about $300 in a roughly $55,000 hardware cost structure, around 0.5% of the bill of materials, comfortably under 2%, though units with larger packs or lower overall costs would land higher, and some independent estimates, including McKinsey's, put battery modules at 5–10% of a humanoid's bill of materials.

Solid-state cells, with their higher energy density, are one of the most promising routes to a robot that works a human shift without stopping, but given their comparatively steep cost versus the competition, one can understand why SK On is aiming this pitch at the robotics and industrial players that need the technology and can afford to pay for it.

For applications with short duty cycles, swapping a cheap lithium-ion pack or fast-charging between tasks may simply remain the better economic answer, but for customers willing and able to pay for more sustained power, solid-state seems to be the new play, even as it remains elusive for commercial EVs given its cost.

SK On has skin in this game on a specific timeline. The company completed its all-solid-state pilot plant at its Future Technology Institute in Daejeon last September, built in partnership with US solid-electrolyte firm Solid Power.

It is developing two chemistries: a polymer-oxide composite cell targeted for commercialization in 2028 and a sulfide-based cell in 2029, a timeline it has already accelerated by a year. But it has competition waiting in the wings: rival Samsung SDI, working with the same American partner, is aiming for 2027.

Whether this leads to widespread adoption of tech expected to appear only in the most expensive EVs on the market this decade remains to be seen, but the TCO argument Ko makes might stick more easily with industrial customers than with consumer EV buyers, for whom pricing and budgets are key factors.

Via The ELEC

• Pentagon eyes swarms of cheap drones over a handful of expensive fighter jets
• Carrier decks may soon be crowded with robots doing eight different combat jobs
• US Navy next fighter wing could fly itself from takeoff to target and back

The US Navy has issued a Request for Information (RFI) seeking a new family of carrier-based drones which would operate alongside manned aircraft while supporting missions across the full range of naval combat operations.

The service wants these systems to fly from Ford-class and Nimitz-class nuclear carriers, while some designs could operate from smaller vessels.

Its requirements seeking industry proposals for platforms capable of eight missions, including attacks against ships and land targets, anti-submarine warfare, air combat, electronic warfare, intelligence, surveillance and reconnaissance.

The aircraft would also support aerial refuelling and resupply missions for naval task forces, creating a broad set of requirements for a single aircraft or connected family of systems.

Strike variants must have a minimum range of 1,000 nautical miles, equivalent to roughly 1,150 miles.

The service also wants advanced autonomy for carrier operations, mission changes and threat avoidance during flight.

Proposed systems must support automated aerial refuelling and remain compatible with existing unmanned aircraft control systems.

The Navy is seeking “affordable mass, risk-tolerant platforms” capable of addressing current and emerging threats, which points toward affordable aircraft designed to be produced in larger numbers than traditional high-cost combat jets.

The RFI asks companies to explain how their production methods could expand rapidly during a surge while keeping recurring flight and sustainment costs within sustainable limits.

Manufacturers must also describe ways to reduce maintenance demands and use existing naval supply networks.

The Navy is also open to aircraft that can operate from platforms beyond its largest carriers - vertical-takeoff and landing UAVs could fly from destroyers, expeditionary sea bases and other vessels with suitable aviation facilities.

“The Navy is interested in novel concepts that can operate from any air-capable platform,” the RFI states, including destroyers and mobile sea bases.

This could give naval commanders more options for deploying autonomous aircraft across different maritime environments.

The Air Wing of the Future Family of Systems forms part of the Trump administration’s Golden Fleet expansion plan.

Existing related programmes include the MQ-25A Stingray tanker and Collaborative Combat Aircraft initiative.

The RFI also asks companies to explain planned capital investments and internal research commitments needed to mature their designs.

The Navy’s requirements suggest that future carrier aviation could combine advanced manned aircraft with larger fleets of autonomous systems designed for scale and operational risk tolerance.

Via Defense News

• Reports indicateHuawei is building and operating DRAM fabs through a joint venture with state-controlled SwaySure
• This is part of an alleged 11-fab network Huawei operates behind state-owned fronts that it denies exists
• The move, seen as a bid by Huawei to secure captive HBM supply for its increasingly powerful Ascend AI chips, could place the company above Apple, Intel, and Nvidia, none of which makes its own memory.

Mounting evidence suggests Huawei is taking the same approach that saw it build CPUs and AI chips in the past to DRAM in the present.

The Chinese tech conglomerate is allegedly building and operating DRAM fabrication plants on the mainland, bringing it into direct competition with only one major player at the same scale, albeit for a much larger consumer base: Samsung.

Drawing on media reports and postings by semiconductor analysts, Block & Files has published claims (which Huawei currently denies) that the company is potentially building and operating DRAM fabs through a joint venture with Shenzhen-based memory maker SwaySure, giving it effective control over at least 11 different semiconductor fabs in the region.

Despite its ramifications and Huawei's denials, the claim is hardly new: the first link between the two companies was in 2025, when the Financial Times published satellite images of Huawei's advanced chip production line that tied it to SwaySure and cited state financial backing for the facilities shown.

Huawei's purported move did not happen in a void, however; it finds itself in a situation where the Chinese state is increasingly and aggressively defending it not only covertly but overtly, on multiple fronts, as it responds to Washington-backed sanctions that limit and in some cases all but eliminate its ability to access cutting-edge silicon.

The overt part is easy to identify: the Semiconductor Industry Association estimated that Huawei is receiving $30 billion in state funding from the central government and its hometown of Shenzhen to build its chip network, while a separate 2019 estimate put the lifetime figure at US$75 billion in state support.

The government has also effectively barred its tech giants from buying AI chips from AMD and Nvidia while propelling Huawei's Ascend line to de facto standard in the Chinese market, guaranteeing Huawei revenue it would otherwise have to compete for.

The covert part is much harder to identify, but equally crucial: China also allegedly tolerates a shadow fab network that is, at least on paper, not directly associated with Huawei but is, for all intents and purposes, an arm of the giant, the opacity making it hard to pinpoint the direction and scale of Huawei's ambitions in the space. This is also why the US resorts to Entity List designations of Huawei's affiliates: Washington is trying to pierce a veil Beijing built on purpose.

The strongest corroborating signal, ironically, comes from Huawei's adversary: the US government's own Entity List designations imply that BIS investigators concluded these companies function as one network, which is as close to official confirmation as is currently available.

Huawei's move stems from a voracious appetite for AI-centric High Bandwidth Memory (HBM), which sanctions ensure it cannot source directly from international suppliers, with the US having tightened export controls to keep it, at least legally, out of Chinese hands.

While a Huawei that fabs its own DRAM would be a notable leap, it may be more of a potential future supplier to Apple than a direct competitor, as Apple is toying with the idea of buying memory from Chinese makers to ease its own supply issues.

Huawei's products do, however, compete with Apple in the smartphone segment, with Intel's server CPU offerings, and with Nvidia's AI chips, even as the last of these struggles to find a foothold in what was once one of its largest markets by revenue.

It does seem to have Samsung's Western position in its crosshairs as it builds toward zero Chinese dependency on suppliers Washington can sanction, but it has a lot of catching up to do to hold its own against the current king of the hill. Samsung holds a 3–4 year lead in HBM, arguably the gap that matters most, over China's CXMT, while its DRAM lead is much narrower and closing considerably faster against China-based memory makers.

Chinese makers have meanwhile reached relative parity in the NAND flash used in SSDs, an increasingly important space for AI, even as Huawei still relies on SMIC for CPU and GPU fabrication, a process roughly two nodes behind industry leader TSMC.

Huawei, at least on paper, has its own designs but does not fab them itself, leaving that to other specialist firms. But if the report holds true, it just might become the first real challenger to Samsung's position as chip designer, fabricator, and memory supplier all rolled into one.

A new Quordle puzzle appears at midnight each day for your time zone – which means that some people are always playing 'today's game' while others are playing 'yesterday's'. If you're looking for Tuesday's puzzle instead then click here: Quordle hints and answers for Tuesday, July 21 (game #1639).

Quordle was one of the original Wordle alternatives and is still going strong now more than 1,500 games later. It offers a genuine challenge, though, so read on if you need some Quordle hints today — or scroll down further for the answers.

Enjoy playing word games? You can also check out my NYT Connections today and NYT Strands today pages for hints and answers for those puzzles, while Marc's Wordle today column covers the original viral word game.

SPOILER WARNING: Information about Quordle today is below, so don't read on if you don't want to know the answers.

• The number of different vowels in Quordle today is 4*.

* Note that by vowel we mean the five standard vowels (A, E, I, O, U), not Y (which is sometimes counted as a vowel too).

• The number of Quordle answers containing a repeated letter today is 2.

• No. None of Q, Z, X or J appear among today's Quordle answers.

• The number of today's Quordle answers starting with the same letter is 2.

If you just want to know the answers at this stage, simply scroll down. If you're not ready yet then here's one more clue to make things a lot easier:

• C

• S

• A

• A

Right, the answers are below, so DO NOT SCROLL ANY FURTHER IF YOU DON'T WANT TO SEE THEM.

The answers to today's Quordle, game #1640, are…

• COYLY
• SINGE
• AWASH
• AWOKE

There are so many words beginning with S and ending in E that I got lucky using up just two guesses to get SINGE.

Elsewhere, having two words beginning A-W dramatically reduced my guessing time.

The answers to today's Quordle Daily Sequence, game #1640, are…

• PROUD
• WEAVE
• EATEN
• FIBER

• Quordle #1639, Tuesday, 21 July: TRUSS, AXIAL, SWINE, THING
• Quordle #1638, Monday, 20 July: ICING, SLICK, GAILY, RISEN
• Quordle #1637, Sunday, 19 July: SPURT, ACRID, THRUM, BLEEP
• Quordle #1636, Saturday, 18 July: KNAVE, TIGHT, BLEAT, CHAOS
• Quordle #1635, Friday, 17 July: CUMIN, PALER, GRASS, INBOX
• Quordle #1634, Thursday, 16 July: IGLOO, PLAIT, YEAST, AROMA
• Quordle #1633, Wednesday, 15 July: PROXY, BRICK, BROTH, SURGE
• Quordle #1632, Tuesday, 14 July: EBONY, AVOID, RODEO, CUTIE
• Quordle #1631, Monday, 13 July: VOICE, BISON, BURNT, BUILT
• Quordle #1630, Sunday, 12 July: STAIN, BINGO, LARVA, DICEY
• Quordle #1629, Saturday, 11 July: WORTH, PRONG, DINGO, DRUID
• Quordle #1628, Friday, 10 July: GREET, STEAK, DUSKY, HAUTE
• Quordle #1627, Thursday, 9 July: CRUMP, PHONE, SHINY, STONY
• Quordle #1626, Wednesday, 8 July: GHOST, TREND, EXALT, ALONG
• Quordle #1625, Tuesday, 7 July: ARRAY, SUITE, KIOSK, BOULE
• Quordle #1624, Monday, 6 July: TRAWL, SPICE, PIANO, SHARK
• Quordle #1623, Sunday, 5 July: PINEY, SWOON, TITLE, PINTO
• Quordle #1622, Saturday, 4 July: ARGUE, MOTEL, OPERA, TRUCE
• Quordle #1621, Friday, 3 July: AVERT, MOTOR, MANIC, WORDY
• Quordle #1620, Thursday, 2 July: BULKY, PARSE, BELOW, MOVIE

• Celeste Ecoflyers daS10, an inflatable drone, can reportedly fly for more than 10 hours
• Its 8-meter pneumatic wing replaces much of a conventional aircraft structure
• The drone can reportedly cover approximately 500 miles in one direction

A French aerospace startup is developing a 24-foot inflatable drone designed to remain airborne for more than 10 hours while covering roughly 500 miles one way.

The company recently completed early flight testing for the drone dubbed daS10, which uses a pressurized textile envelope and pneumatic wings.

When deflated, the drone can reportedly fit inside a normal car with its seats folded, giving operators an unusual transport option.

Celeste Ecoflyers developed the daS10 around an 8-meter fixed-wing structure that uses internal air pressure to maintain its shape during flight.

The inflated wing generates lift while avoiding some of the structural weight associated with conventional aircraft designs.

That approach is intended to reduce energy demands and allow the drone to remain airborne for much longer periods than many small multirotor systems.

The company is developing the aircraft for inspection, surveillance and remote logistics missions that require persistent aerial coverage.

Small consumer drones such as the DJI Mavic 4 Pro can remain airborne for around 50 minutes before requiring a recharge.

That endurance may be insufficient for monitoring pipelines, remote infrastructure or large areas affected by disasters.

Longer-range unmanned aircraft can address those missions, although traditional fixed-wing platforms and vertical-takeoff aircraft can involve higher acquisition, transport and operating costs.

The daS10 instead relies on a lightweight structure that can be deflated when the aircraft is not flying.

Celeste Ecoflyers describes the aircraft as a new class of aerial system designed to make persistent coverage lighter, safer and easier to deploy.

However, the company has not disclosed every operational specification needed to independently assess those claims.

The drone’s inflatable structure could allow teams to transport a large aircraft without requiring a dedicated trailer or specialised ground equipment.

Once deployed, operators would inflate the structure before preparing the aircraft for its mission.

The design could therefore suit remote operations where storage space and transport access are limited.

Potential missions include inspecting long pipelines, surveying disaster zones and monitoring areas where sending crewed aircraft would create unnecessary risks.

The drone also has a reported range of approximately 500 miles in one direction, allowing it to cover substantial distances before returning to its launch area.

The daS10 is still an emerging aircraft concept, and its real-world performance will depend on flight testing, payload capacity, weather tolerance, and the durability of its textile structure.

Its ability to combine long endurance with compact transport could make the design useful for operators needing extended coverage without conventional large aircraft infrastructure.

Via Celeste Ecoflyers | Yanko Design

It’s not long now until Samsung’s second major phone launch of the year, with the next Samsung Galaxy Unpacked showcase set to take place later on today.

This follows February’s Unpacked event, where we saw the Samsung Galaxy S26 series, but this time, we’re not just expecting phones, because along with a selection of new foldables — including a whole new form factor — we’ll probably see new smartwatches too, and even perhaps the Samsung Galaxy Glasses.

So, whether you’re in the market for a handset or a wearable, there could be something for you here, and below, you’ll find full details of how to tune in, along with exactly what we’re expecting to see.

The next Samsung Galaxy Unpacked is being held in London, but as with most major tech launches, it will also be streamed online, so you can watch it from anywhere.

It kicks off at 9am ET / 6am PT / 2pm BST / 11pm AEST on July 22, so at least it’s not the middle of the night for any of those places, though viewers on the west coast of the US will have to get up early, and if you’re in certain parts of Australia, you might have to stay up late.

To tune in, you can simply head to Samsung’s website, where the video will be streamed live. It will also be viewable live on Samsung’s YouTube page. But there’s no need to head to either, because the video embedded on this page (above) will play the stream once it’s live as well.

Wherever you choose to watch it, you don’t need to tune in live if the times are inconvenient, as you’ll be able to watch the video after the fact too. However, you might prefer to just head back to TechRadar, where we’ll be covering all the announcements with in-depth analysis.

We’ve written a full rundown of what to expect at Samsung Galaxy Unpacked 2026, but in brief, there’s probably going to be a mix of phones and wearables.

On the phones side, it’s likely to all be foldables, with the Samsung Galaxy Z Flip 8, Samsung Galaxy Z Fold 8, and Samsung Galaxy Z Fold 8 Ultra all rumored to be making an appearance.

Of those three, the Z Flip 8 and Z Fold 8 Ultra are thought to be fairly conventional successors to the Samsung Galaxy Z Flip 7 and Samsung Galaxy Z Fold 7, respectively. Look out for new chipsets, smaller creases, and potentially some new cameras, but nothing too game-changing is expected there.

The more interesting phone is the Samsung Galaxy Z Fold 8, which, despite its name, is reportedly going to have a new form factor, making it wider and shorter than the Samsung Galaxy Z Fold 7 or the Z Fold 8 Ultra. This will also probably be a more affordable phone as a result.

For wearables, we’ll probably see the Samsung Galaxy Watch 9 and the Samsung Galaxy Watch Ultra 2, with the latter of those products sounding the most interesting, as it might have a high-capacity 800mAh battery and — for the first time on a Galaxy Watch — support 5G.

Finally, Samsung might also take the opportunity to launch its first smart glasses, which could be called the Samsung Galaxy Glasses. These are reportedly screenless glasses that run Android XR, let you talk to Gemini, and look set to rival the likes of the Ray-Ban Meta glasses.

Filmora is one of the most well-known video editing software in the industry. The company has also done well to embrace AI, adding a whole new range of advanced AI functions that have only made the platform better and more capable over time.

In this review, we've put Filmora to the test, trying out its top features hands-on to see if they live up to expectations. We also dive deeper into its other offerings, value for money, and in-use experience, as well as compare it to the best AI video editors to help you find out if it's the right choice for you.

Much like other AI editing and content generation tools, Filmora also offers a free-forever plan, allowing you to edit videos along with access to a limited amount of creative assets such as effects, filters, transitions, music, and sound effects.

However, unlike Kapwing, Adobe Firefly, or Fliki, Filmora's free plan does not include any AI credits. This means you won't be able to generate AI videos or images for free with Filmora, which is a bit of a letdown considering the competitive landscape.

Filmora's paid plans start at $4.17 per month. The Basic plan is not much different from the free plan, except that you get 500 uses of its proprietary AI Mate, along with 1GB of cloud storage. Besides this, everything else remains pretty similar to the free plan.

You also have the option to add the Filmora Creative Assets add-on to the Basic plan for $19.99 per month. However, you do get a 14-day trial of the Creative Assets package.

There's also an option to purchase the Basic plan with a one-time perpetual license for $79.99. However, you will not receive future updates and will need to pay an additional upgrade fee to access newer versions.

You can check out Filmora by clicking here.

Next up is the Advanced plan at $5 per month, which comes with 1,000 AI credits. This is the first plan where you can create AI videos and short clips, and use AI tools like Text to Object, Text to Speech, AI Music, AI Images, AI Copywriting, and more. You also get 10GB of cloud storage, along with limited access to Creative Assets.

Compared to the likes of Veed, which costs $12 per user per month, or Kapwing, which costs $16 per user per month, Filmora's Advanced plan is one of the most affordable options available for AI content generation. Just like the Basic plan, you can also add the Filmora Creative Assets pack for $19.99 per month.

However, the Premium plan, which costs $8.33 per month, already includes the Creative Assets package and is, in our opinion, one of the best value-for-money plans you can get. You receive 2,000 AI credits per month, along with 100GB of cloud storage. The Creative Assets package also includes over 12,000 effects and filters, more than 7,000 transitions, and access to 1.5 million stock media assets.

Also, all the prices mentioned above are for the Windows version, with Mac pricing being slightly higher. For instance, the Basic plan on Mac costs $5.83 per month, with a perpetual license priced at $99.99, whereas the Advanced plan costs $6.67 per month and the Premium plan costs $10 per month.

Even though they are a tad pricier than the Windows version, they're still pretty affordable compared to other similar video editing and AI generation tools.

The best thing about Filmora is that it keeps adding new features. With the release of version 15, the platform has added a new repertoire of both AI and video editing features. For instance, there's the new AI Video Extender, which helps you expand your footage forward or backward with the help of a prompt.

This may come in handy when your footage is too short and you need a bit more footage for smooth intros and outros. Using it is also pretty simple. You just need to drag its Smart Pen onto the editing dashboard and add a prompt describing how the video should continue.

In the same vein, Filmora has also introduced Prompt Video Editing, which allows you to add, replace, or remove objects in your videos using simple text prompts instead of having to do it manually on the editing dashboard.

Another impressive new feature is Animated Charts, which lets you import CSV or Excel files and generate chart and graph animations to build dynamic line, area, and pie charts. This comes in handy for commercial teams that want to prepare engaging presentations with animated visualizations.

The platform has also recently introduced advanced pixel tracking and motion compensation algorithms for its built-in video stabilization. This helps repair shaky video footage, making it more stable.

Similarly, there's also a Lens Correction option, which helps you remove optical distortions caused by camera lenses. This includes barrel or fisheye distortion, pincushion distortion, vignetting, and perspective or keystone distortion.

This comes in handy while editing wide-angle or action camera footage, where the fisheye bulge is distracting, or architecture and interior shots, where you want walls and buildings to look straight instead of curved.

Furthermore, Filmora now has advanced planar tracking, which can follow an entire flat surface across a moving video and lets you add images, videos, text, logos, mosaics, or anything else you want to that flat surface, much like inserting an image into a video. For instance, you can attach a logo to a moving truck, billboard, or storefront sign.

Filmora also has one of the largest libraries of creative assets we have seen across similar applications. Although it's a paid add-on, the Creative Assets package unlocks a large pool of premium effects and media.

This includes stock media and original video effects, over 100,000 royalty-free audio tracks, professionally designed title templates, a wide range of basic and professional transitions, aesthetic and cinematic effects and filters, stickers, more than 10,000 ready-made templates, and over 500 AI-powered effects.

Here are some other features you get with Filmora:

• AI text-to-video, audio-to-video, and image-to-video.
• AI Storyboard Generator, allowing you to generate ready-to-use storyboards with editable characters, scenes, and styles.
• An all-new Pen Tool, which lets you draw custom vector paths and shapes directly onto the video frame.
• AI Color Palette for cinematic color editing.
• Text animation with immersive and dynamic effects.
• An automated AI-powered subtitle generator, along with more than 100 animated subtitle templates.
• AI voice cloning in 16 languages.

The Filmora dashboard can seem a bit overwhelming at first, especially if you are a beginner. The editing panel is divided into three panes: one for adding edits and elements such as audio, titles, transitions, and effects; one for viewing your image or video as you edit it; and a horizontal editing bar at the bottom, which lets you drag and drop various editing elements into your project.

At the top of your dashboard, you'll see various options such as Media, Filters, Transitions, Effects, and Templates. Simply click on any of them to open all the available options and drag and drop the ones you want onto the horizontal bar at the bottom.

Once you click on the panel where your video is being previewed, a host of other options opens on the right-hand toolbar, where you can adjust various video settings such as width, height, rotation, and flip.

As you scroll down, you'll find various AI functions such as motion tracking, planar tracking, motion blur, and stabilization. What we liked most is that you simply have to toggle the buttons to activate the features and drag elements onto your video to apply the edits. There are no complex steps involved.

In addition to video, you'll also find other advanced editing options such as speed, animation, color grading, and AI palettes on the same right-hand panel.

To be fair, it can take a bit of time for new users to get the hang of the platform. That said, Filmora is one of the most rewarding platforms once you get past that learning curve thanks to the sheer number of editing options available.

Since Filmora doesn't allow you to create AI content on its free plan, we couldn't test the platform's AI capabilities. However, we did put Filmora's editing functions through a thorough test.

We first downloaded the application on our Windows 11 PC, which took around a minute or two. Once set up, we imported stock media to edit. We clicked on Effects and added an RGB Stroke effect to our video of a man skateboarding. Filmora was able to identify and track the person in the video and apply the RGB Stroke effect pretty accurately.

Adding the effect was also pretty easy. We only had to select and drag the effect onto the horizontal bar. We then added a dissolving transition to the beginning of our video. Again, a simple drag-and-drop did the trick.

We then played around with various video and audio editing settings, and all of them were applied to our video almost instantaneously. There was no lag or buffering while editing even the most complex or longest videos.

Filmora focuses heavily on video editing features, offering several advanced options for professional editors. But there are a few alternatives you can consider.

If you're looking for free AI video and image generation, you can consider tools like Kapwing or Fliki. Both allow you to create AI videos and images for free.

Kapwing does a good job when it comes to generating AI characters, from simple everyday characters like a baby or a cheerleader to fantasy characters like a dragon or a cyborg. There are plenty of options.

Fliki, meanwhile, gives you many pre-video generation options to choose from. For instance, you can customize your video format, template, AI avatar, voiceover, and captions before generating a video, which saves a lot of editing work afterward.

However, Kapwing's highest-tier plan can be pretty expensive, costing $50 per user per month, whereas Fliki can go up to $44 per month. Even Filmora's most advanced plan costs only $8.33 per month, making it far more affordable. Plus, both platforms lack advanced editing options such as planar tracking and video stabilization.

Filmora is one of the most feature-packed AI content generation and editing tools on the market. Apart from basic features like image-to-video, script-to-video, and audio generation, you get advanced editing options such as planar tracking, storyboard generators, video stabilization, AI video and audio extenders, dual-monitor editing, animated charts, and lens correction.

Additionally, Filmora houses one of the most extensive libraries of stock assets, including licensed music, effects, transitions, stickers, and more than 10,000 templates.

That said, its interface is not among the simplest we have seen and requires a bit of a learning curve. Also, its free plan does not allow you to create any AI content, which was a bit of a disappointment. If this is a deal-breaker for you, you can consider other options like Adobe Firefly or Kapwing.

We've tested a range of video makers and editors, including the best video editing software, the best video editing apps and the best free video editing software.